MILAN GOLOB

....

SK u c

GAL E

R IJ A

ST A R 1

T � G 2 1

Slike & Duchamp

Since the tubes of paint used by the artist are manufactured and ready made prod­uct. we must conclude that all paintings in the world are "ready -rna des aided". (MARCEL DUCHAMP)

Danas elektronika i automatizacija obavezu ju svakoga da se p r i­lagodi svetskoj sredini kao da mu je rodni grad .... svaka gostionica na avtoputu, sa svojim televiz­ijskim prijemnikom, ilustriranim casopisima, dzuboksom ... podjed­nako je kosmopoIi tska kao sto su to New York iii Parizo

(MARSHAL McLUHAN)

Fundamental to this idea of art is the understanding of the lin­guistic nature of all art proposi­tions' be they past or present. and regardless of the elements used in their construction.

What makes an artist. or any other thinker important is what he has contributed to the histo­ry of ideas.

What the work of art looks like isn't important. No matter what form it may finally have, it must begin with an idea.

(JOSEPH KOSUTHI

Besedotvor je je pravza­pray ustvarjanje pomen­ov in slik v svetu gov­ori c e in p isave. V

s lik a r stvu pa je neki nepremostljiv dolg do besede, ki je skrita resni­ca v molku slikarstva.

V zacetku je bila Beseda in Beseda je bila pri Bogu in Beseda je bila Bog. Vse je nastalo po njej in brez nje ni nastalo nic, kar je nastalega.

The v isu­al means the orga­nization of the material world a ccord­ing to a vi sual code. (TOMAZ BREJC)

(VES SlIKAR SVOJ DOLG)

But art is objectively reactionary.

(DANIEL BUREN)

JANEZOV EVANGELIJ

In Paris we have infla -tion in paint-ings . . . . . . Artists. once h a v i n g found a for-mula for p a i n t i n g . have used it for making money. sell-ing their stuff like so m e a n y beans. (MARCIl DUCHAMJ'I

arrhe merdre --- = merae

(MARCEL DUCHAMP)

I am made to regis-ter signals. I am a signal. I I I I I I I I

(MARCEL BROODTHAERS)

More is less. Less is more.

(AD REINHARDT)

"Excuse me. can you tell me where

I ?" am .

(LAURIE ANDERSON)

Painting is olfactory mas­turbation.

"Marcel. no more paint­ing, go get a job."

(MARCEL DUCHAMP)

The artist is originally a man who turns away from reality because he cannot come to terms with the demand for the renunciation of instinctu­al satisfaction as it is first made. and who then in phantasy-life allows full play to his erot ic and ambitious wishes. But he fi nds a way of return from this world of phan­tasy back to reality; with his speci al g i fts he moulds his phantasies into a new kind of reali­ty. and men concede them a justification as valuable r eflections of actual life. Thus by a cer­tain path he a ctuall y becomes the hero, king. creator. favo urite he desired to be. without pursuing the circuitous course of creating real alterations in the outer world.

(SIGMUND FREUD)

MILAN GOLOB SLIKE

SLIKE IN DUCHAMP

Samo pridi mi blizu, če upaš, te bom prernevžal kot cukr in s kolesom odpeljal tako daleč, da bo karmin čez stegna. V PisaneIlovi Viziji ti bom povedal,da se mi že grauža, ko smo dane v i tako prekleto pametni in poduhovljeni, toda v resnici nič drugega, kot tri tedne tari kroti. Stran bom zmetal vse pojmovno anti- likarstvo in če bo slučajno poplava pop-minimalističnih industrijskih izdelkov, imam s seboj čoln za napihniti. V primeru samo povečane vlažnosti se bova vozila kar čez Kosuthove inteligentne črve. Med rezanjem vratov ready-made fetišom ne bo dišalo po ping pong zen filozofiji. Šodr, špegl in burek pa naj zaradi mene žegna, kdor hoče. Kolo se nama lahko tudi pokvari, toda nič ne skrbi, si bova kak voziček že izspo odila v najbližji galeriji. Zaribalo nama ne bo, imam dovolj olja. Jaz i bom v e kozi domišljal, da s m dober slikar in ti kar hočeš.

Če se bojiš, da te odplakne in mi ne prideš blizu, ne greva nikamor. Da ti ne bi kaj vsakdanjega ušlo, redno plačuj položnice in vsak mesec na sveže poliži kak�nega boga, ki ni bolj več, kot nič. Tudi brez centrifuge

e mogoče fura, ne vem. Nebo po košnji je z malo truda rumeno in pazi vsaj to, da ne bodo na njem samo packe od vroče goveje župe z artičokami. Oh, ja, benevolenten sem samo do tistih, ki imajo v sebi vsaj malo rumene. Življenje je pač rwneno in to je tisto, česar ti ne razumeš.

Čao.

MILAN GOLOB

PAINTINGS AND DUCHAMP

Co me closer ifyou dare, 1'11 grind you up like sugar and I'lI ride my bike so far that cannine will be pilt all over your thighs. In Pisanello's Vision 1'11 tell you that it makes me feel sJck, that we are all so bloody clever and spiritual nowaday , but in fact nothing more than three-week-old doughnuts. 1 11 throw away conceptual anti-painting, and if by chance there's a flood ofpop-minimali t industrial products 1 have im inflatable boat with me. In the case of nothing but increased moisture we'll just ride over Kosuth's intelligent worms. Cutting the throats of the ready-made fetishes will·not smeli of ping pong zen philo ophy. Sand, a mirror and a burek can be blessed by who oever wi he to it' all the ame to me. Our bike can al so break down, but don't worry, we'l1 borrow some handeart from the nearest gallery. It won't get ru ty, 1 have enough oil. 1'11 imagine myself a thoroughly good painter and you - whatever you want.

If you are afraid that you will be washed away and you don't come close to me, we are going nowhere. Keep on paying the postal orders regularly so that you don 't miss anything ordinary and every month lick some god afre h, which i n 't more than nothing. Even without centrifuge it may be possible to get by, 1 don't know. With a littIe effort the sky is yellow after mowing, and at least take care that there won 't be only stains of hot beef soup with artichokes on it. Oh, yes, I can be benevolent only to those who have at least a little bit of yellow in them. Beca�se life is surely yellow and that's what you don't understand.

Ciao.

MILAN GOLOB ( Translated by Nataša Hirci )

JILMAD; 1993 olje-platno / oil on canvas , 21 Ox 130 cm

WE L Y G BY SEASAND

We lying by ea and, watching yellow And the grave ea, mock who deri de Who follow the red ri ers, hollow A1cove of words out of cicada hade, For in this yellow grave of sand and sea A calling for colour calls with the wind That's grave and gay as grave and sea Sleeping on either hand. The lunar ilence , the silent tide Lapping the stili canals, the dry tide-master Ribbed bet\veen desert and water torm,

hould cure our ill of the water With a one-coloured calru; The heavenly mu ic over the and Sounds with the grains as they hurry Hiding the golden mountains and man ion Of the grave, gay, easide land. Bound by a sovereign strip, we lie, Watch yellow, wish for wind to blow away The trata oflhe shore and drown red rock; But wishes breed not, neither Can we fend off rock arrival, Lie watching yellow until the golden weather Breaks, O my heart's blood, like a heart and hill.

DYLA THOMAS

LEŽEČ A PESKU

Ležeč na pesku gledava rumeno in resno morje, draživa poroglji ce, ki iščejo rdeče reke, votlo posteljo besed, prihajajočih iz čričkove sence, ker v tej rumeni jami iz morja in peščin odmeva klic po barvi v vetru, ki je resen in vesel kot jama in morje, speče pri obeh rokah. Lunin molk, molčeči val, ki liže mirne prekope, uhi moj ter plim, ujet med svet puščav in vodno vihro, bi moral ozdraviti najino vlažno bol z enobarvnim mirom' nebeška glasba nad črto peščin doni v peščenih zmih, ki hite in krivajo zlate gore in hiše v resni in veseli zemlji tu ob morju. Leživa, zvezana z vezjo oblastno, gledava rumenino v želji, da veter bi odvcl plasti obrežoe in potopil rdečo kalo; želje pa ni o rodovitne tudi ne zadrživa skale, blizu je njen prihod; leži in glej rumeno plan, dokler e zlati čas ne zlomi, o kri mojega srca, kakor srce in grič.

DYLA THOMAS

( Tran laled by Jože Udovič )

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TILJA Ž; 1993 olje-platno I oil on can vas , (56+4+56)x220 cm

VA IM K; 1993 olje-platno / oil on canvas , 140xl90 cm

DALEČ STRAN

Odrivamo poznanje, da bomo na koncu vsi prevedeni v tišino. Usta hlastajo za svetlobo lune in z rokami oblikujemo na telesih deževni gozd. A kaj lahko

zare delimo? Kdo odgov:uja našim prošnjam in strahovom? So to res le podobe zajezene v slikah, popoldanske sanje, odmevi z vode, v katerih je na a mi el vama.

Kdo odgovarja? Še za vi oko pe em ljubezni e zdi, da je nesigurna in nemočna, ker raste in zori v različnih dobah, in nihče ne ve za njeno uro in njen čas.

Le v slutnji nočnega neba, e včasih daleč stran od naše uporabe zasveti obraz, ki mogoče ve, in se še isti hip skrit pred proseč imi očmi, zopet potopi v temo.

FAR AWAY

UROŠ ZUPAN

We push away the knowledge, that in the end we shall all be translated into silence.The mouth gasps for the light of the moon and with our hand we hape rainfore t on our body. But what can

we really share? Who answers our reque ts and our fears? Are this really only image caught in paintings, aftemoon dreams, echoes from the water in which our thoughts are safe.

Who ans we rs? Even for the high poem of love it seems, that it i unsure and powerless because it grows and mature in different eras and nobody know its hour nor it time.

Some times only in the anticipation of the night sky far from OUf

di po al a face lights up, which maybe knows the an wer, but in the same moment hidden to begging eyes, it dives into the darkness again.

UROŠZUPA ( Translated by Uroš Zupan and Nikolai leffs )

MILA GOLOB

Rojen lela 1963 v Ljubljani. Diplomiral na fakulleti za

nara oslovje in tehnologijo - fizika (19 7) in na kademiji za likovno umetnost - slikarst vo (1993) .

Za 'voje delo je leta 1992 dobil 'tudent ko Pre emO\o nagrado. alo\': 1amova 12. 61241 Kamnik

tel.:061 12-679

Razstave 1991 Kamnik, galerija Ver nika ( amo lOj na raZSlava)

1992 Ljubljana, galerija Ars ( kupin ka raz tava)

1992 Velenje, galerija Ivan apotnik (skupinska raz tava)

1992 Ljubljana, galerija EQUR A (skupina "63-70") 1992 Ljubljana, galerija K4 ( kupina "63-70") 1993 Ljubljana, galerija MEL T (skupinska razstava)

MILA GOLOB

Bom in 1963 in Ljubljana. Graduated from phy ies at the Faeulty of atural cicnec in Ljubljana (1987) and from painting at the Academy of Fine An in -Ljubljana (1993). He wa awarded lhe tudents' Pre'cren Prize in 1 992.

ddrcss: Jamova 12,61241 Kamnik

Tel.: 061 812-679 Slovenia

Exhibilions

1991 Kamnik. Galerija Veronika (one-man exhibition)

1992 Ljubljana. Galcrija rs (group exhibition) 1992 Velenje, Galerija Ivan apolnik (group exhibition)

1992 Ljubljana, Galerija EQUR (group "63-70'") 1992 Ljubljana. Galerija K4 (group "63-70") 1993 Ljubljana. Galerija EL T (group exhibition)

GOLOB MILAN SLIKE

in projekt " like in Duchamp"

skupaj z Robertom Lozarjem v galeriji SKUC

februar 1994

Barvna fotografija Goran Bertok

Fotoliti Grafika, Ilirska Bi trica

Tisk L1NKE, p.Piriniče

Oblikovanje Milan Golob & Robert L.

Galerija Škuc Stari trg 21

61000 Ljubljana tel.: 0611216-540 fax.: 061/329-185

Naklada 500 izvodov

Razstavo in ti k kataloga so omogočili

Zveza kulturnih organizacij Kamnik ST OL Kamnik

KOLIN KA Ljubljana Mladinski kulturni klub Bele krajine

Po mnenju Ministrstva za kulturo Republike Slovenije. št.415-128/93mb z dne 18.2.1993 za galerijo KUC. se za katalog plačuje 5% davek od prometa proizvodo\.

Everything is a collabora ti on. You don't work in a va cu m. The work has alwa ys been social. (ANN HAMILTON)

Slikar, mizar, bog - ti trije so tvorci treh vrst stolov. (PLATON)

1 don't believe in mo nk idea.

Čebula (po Dubuffet-u) je na justr ezne jša r a z l a g a l n a p r i s p o d o b a umetnosti: da bi prišel do njene ­ga bistva , lup iš ovoj za ovojem, ki skriva sredino. Ko olu p iš zad­njega, ne ostane

tnič.

(JURE MIKUž)

1. Umetnik

može da realizuje rad

1 met Marcel Duchamp once, in a museum, 1

looked up and there he was and he said, "Have you seen my painting?" and I said, "1 don't think it is being exhibited, is it?". And he said, "No, but i t's between two partitions somewhere and I can't find it."

(GEORGIA O'KEEFFE)

The effects of aesthetic signs are determined only within a cultural

system. (JACQUES DERRIDA) You know of course

that "seeing" is really conceptual.

The idea was to use this as a kind of con­ceptual ready-made.

2. Rad može da realizuje

bilo ko drugi

Što znači instalacija? Možda je i Masacciovo slikarstvo i celokupno fresko slikarstvo jedna

instalacija. (JANNIS KOUNEllIS)

We are here, and we won't go away.

... . . to me the a rtists' duty is realy to pre­sent new Ideas - new ideas about what art is. N o t just to ma k e new works within the a ccepted framework.

But even if you can't invent new forms you can invent new mean­ings.

(JOS EPH KOSUTH)

3. Nije nužno da rad bude realizovan. (LAWRENCE WIENER)

There was no essential satisfaction for me in painting, ever.

Repetition-even ln Its most

mechanical. quotidlan habitu­

al. stereotypicallorms-has a

place within art .. (GILLES DELEUZE)

(MARCEL DUCHAMP)

Kadar pri ljudeh o slabi premišljevanje, preidejo k delu, ki je senca pre­mišljevanja in razuma. (PLOTIN)

. ... from history to discourse ... .

(SCATOLOGlCAL ART)

The museum according to Bataille? ilA colossall mirror

in which man contem -plates himself in all his

faces, finds himself truly admirable, and abandons

himself to ecstasy." It is the very definition of

the toilet. (JACQUES HENRIC)

The peculiar nature of artistic production and of works of art no longer fiIls our highest need. We have got beyond venerat­ing works of art as divine and worshipping them . . . . Thought and reflection have spread their wings above tine art. . . . In all these respects, art considered in its highest vocation is a thing of the past.

(J. BAUDRILLARD)

Painting is finished.

(D. JUDD)